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  • 1.
    A. Aljundi, Rachelle
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Bildklassresa mellan konststilar och epoker: om bildlärares konstsyn och teknikval i grundskolans bildundervisning2014Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study was to to examine what teachers think about visual art and how the learning process in this subject does look like. To answer these issues, I made interviews with five teachers of visual art from different schools, and I examined several examples of pupils’ artworks. The stories of the teachers were analyzed in relation to governing documents and with assumptions from sociocultural theory, postmodernism and pedagogical - aesthetic research as theoretical point of view.

    By the qualitative interview method, the observations of the pupil’s artworks, and by the analysis of the interviews with the teachers, I have come to the conclusion that teachers think differently about art but they try to keep themselves in line with the national governing documents. Its affects aspects of disciplines, styles, techniques and medium that is exemplified by the pupil’s art works, and it points out similarities and differences between the pupil’s art works and between the teachers when teaching visual art.

  • 2. Brännström, Andreas
    et al.
    Ericsson, Mattias
    Lundqvist, Camilla
    Norberg, Micael
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Willemark, Alva
    Österholm, Johan
    Kite Aerial Photography - Hué2014Book (Other (popular science, discussion, etc.))
    Abstract [en]

    The Kite Aerial Photography - Hué project started with the intention from Mattias Ericsson and me Micael Norberg to work artistically on a jointly project with students from di erent art schools and from di erent cultures. We had an idea of building bridges both artistically and culturally. We traveled to Hué in Vietnam in order to explore new ways to collaborate and  nd new artistic meth- ods. We wanted to use kites and send our cameras up in the air to make aerial pictures. We tried to  nd a way to control events and by that also control our artistic outcome and understanding. But in the The Kite Aerial Photography project we had no control. The weather controlled our kites. The place and the language controlled what we knew and understood. What was left was to look into ourself and negate a compromise. The leftovers became documentations of an experience.And now I am looking back at those events, wondering what really happened. I am using words, trying to create an image of my memories and of my experience - hot air, smells and noise. Experi- ences I can’t communicate fully in words. You as a viewer will never feel them and I will only remember them. We will also remember di erently. Every participant have their own image ofwhat happened during those days in Hué. The feeling of being di erent, not understanding and being an outsider made us all meet ourselves in di erent ways. We believed that language would build bridges of understanding, and maybe it did. But here we are now. A long time has passed since we returned from Hué. What we have left are images and memories. I remember smells and emotions and in this state between memory and fact a tension is created. A juxtaposition of con ict- ing feelings. I look at the photographs now with a new understanding. We tried to move out of our comfort-zone looking for the unseen, the enigma, where memory and re ection becomes a liminal state. I now realize that knowledge is not fact or truth, but a state that we can call ”not knowing”. A state which for me is the very basic for understanding, and by that becoming the very essence of art.

  • 3.
    Eklöf, Lisa
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Visuella analyser i skolan: Om bildanalysens betydelse och funktion i gymnasie- och högstadieskolans bildkurser2012Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Texten undersöker hur bildlärare och bildlärarstudenter använder sig av bildanalysen inom ämnets undervisning. Metoder, begrepp och inställningar till bildanalys granskas ur ett lärarperspektiv. Dess innebörd i undervisningen utforskas med hjälp av kvalitativa intervjuer och textanalyser av teorier inom bildanalys vilket grundlade en insamlad empiri om bildanalysens funktion och innebörd i högstadie- och gymnasieskolans bildkurser. Skolans betydelsefulla styrdokument har analyserats i relation till empirin. Därtill är ett förslag utformats till bildanalytiskt lärarmaterial som kan användas som ett grundläggande redskap för planering av bildanalytisk undervisning.

  • 4.
    Engqvist, Carl-Erik
    Umeå University, Faculty of Arts, Humlab.
    The Sacredness of Performative Technology2010In: Konsttidningen Esitys, ISSN ISSN 1797-500x, no 4Article in journal (Other (popular science, discussion, etc.))
  • 5. Ericsson, Mattias
    et al.
    Norberg, Micael
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    The Animation Manual2012Book (Other (popular science, discussion, etc.))
    Abstract [en]

    “The Animation Manual” started off with the idea of trying to tie together our own art practice with a workshop in animation.

    We travelled to Hué in Vietnam to work together with students and teachers at Hué College of Fine Arts. By placing our self in a different cultural context and collecting material that could become a base of a manual we wanted to explore the process and document the experiences we encountered in this meeting.

  • 6.
    Foka, Anna
    Umeå University, Faculty of Arts, Humlab.
    The digital aesthetic in 'Atlantis: the evidence' (2010)2018In: Ancient Greece on British television / [ed] Fiona Hobden and Amanda Wringley, Edinburgh, Scotland: Edinburgh University Press, 2018, p. 187-202Chapter in book (Refereed)
    The full text will be freely available from 2021-05-31 11:09
  • 7. Hadji-Culea, Ana-Maria
    Tripping, ontological abstraction as hypersimulation2009In: It's about time: ah, I like time : once I had a really good one : masters of fine arts graduating class of 2009, Academy of Fine Arts, Umeå University, Umeå: Umeå Academy of Fine Arts , 2009, p. 22-27Chapter in book (Other (popular science, discussion, etc.))
  • 8.
    Holmstedt, Janna
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts. Malmö Faculty of Fine and Performing Arts.
    Are you ready for a wet live-in?: explorations into listening2017Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations?

    This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet).

    The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them.

  • 9.
    Johansson, Anders
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Förord / Preface2013In: Vissa dagar känns det mesta ganska meningslöst. Ibland känns det precis  tvärtom / [ed] Upphovsman: Patrick Nilsson, Uppsala: Fistofobia förlag , 2013Chapter in book (Other (popular science, discussion, etc.))
  • 10.
    Jonsson Widén, Anna
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Bildundervisning i möte med samtidskonst: bildlärares professionella utveckling i olika skolformer2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this thesis is to describe and review the visual art teaching profession from a wider cultural perspective. This can lead to a better understanding of how teachers in 2000s Sweden manage change and relate to their task. This is a starting point for the formation of question areas that are of concern: the importance of their own specific interests in various visual art media for the development of their professional knowledge; what conditions different types of schools provide for the development of the subject and the strategies visual art teachers (in the study) use to develop their teaching on the theme of contemporary art. The theoretical framework is based on a socio-cultural perspective. Analysis combine cultural semiotic and frame factor models. Institutional art theory focuses on art’s audience and the art institutions which are central to contemporary art manifestations. The thesis is based on two case studies conducted by three separate teacher-training days at Bildmuseet in Umeå. 14 Visual Art teachers from four different types of schools: compulsory school, years 7-9, upper secondary school, folk high school and volountary art school (Swe. kulturskola) participated in the study. The investigations has generated data produced through interviews, observation, self-reports and images. Contemporary Art is involved in society's constant change and mix of new medias. The changes concernes the visual art educational field. The opportunities different school contexts provides for education, has an impact on how knowledge is transformed. Conformity, solid structures, formes of assessment and low legitimacy shape resistance. Teaching in visual art is highly based on teachers' own choices. A fragmented knowledge-culture with focus on manual or digital mediations leads to different knowledge-selection. This study highlights resistances that affect applying contemporary art on its own terms. Contemporary art’s starting points and new perspectives represent other paradigms than traditional art classifications. This sigifies tension between the artworld and the educational field. To reducie the tension, a dialogue and interaction between the fields on equal terms is recommended. The study identifies a lack of procedures and resources for formal continuing professional development. There is a need of developing the collective body of knowledge, covering both the theoretical and practical knowledge in the visual art teacher culture.

  • 11.
    Jørgensen, Finn Arne
    Umeå University, Faculty of Arts, Department of historical, philosophical and religious studies.
    Why Look at Cabin Porn?2015In: Public culture, ISSN 0899-2363, E-ISSN 1527-8018, Vol. 37, no 3, p. 557-578Article in journal (Refereed)
    Abstract [en]

    The rise of cabin porn—images of beautiful cabins in nature—as a visual genre reflects a growing international interest in cabins, shedworking, and rustic, exurban living off the grid, most of it romanticizing rural and low-tech lifestyles. On the surface, the digitally mediated and disembodied architecture of cabin porn seems to be a form of nostalgia, where the dream of the cabin becomes an arena for resolving an ambivalent relationship to technology and all the bothersome things of modern life. Delving deeper into the cabin porn phenomenon, however, can also reveal something about the mediated experience of nature through digital media.

  • 12.
    Larsson, Jasmine
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Bild- och formlära: Gjutning och digitala läromedel i bildämnet2014Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Studiens syfte var att skapa ett digitalt läromedel inom gjutning i skolämnet bild och form samt att undersöka hur lärarstudenter och en nyutexaminerad lärare såg på det skapade läromedlet och blogg som läromedel. De frågeställningar som studien utgick ifrån var ”hur kan en blogg som läromedel i gjutning utformas?” och ”vad tycker lärarstudenter och nyexaminerade lärare i bildämnet om det färdiga läromedlet?”. För att besvara dessa frågor genomfördes ett gestaltande arbete genom att utforma en blogg som ett läromedel i skolan. Temat på detta läromedel var gjutning, där två gjutningstekniker presenterades; tvådelad gipsform och alginatform. I avsnittet ”Begrepp” förklaras de steg som ingår i gjutning, de delar som var med i bloggen samt de överväganden som gjordes. Därefter gjordes intervjuer med tre lärarstudenter och en verksam lärare som fick kommentera bloggen och ge konstruktiv kritik. Resultatet av intervjuerna visade att informanterna var positiva till att använda blogg som läromedel, men att det också finns svårigheter med att använda digitala läromedel. I diskussionskapitlet diskuteras hur bloggen går att använda med olika inlärningsmetoder med utgångspunkt i Lars Lindströms teori om lärande.

  • 13.
    Marner, Anders
    Umeå University, Faculty of Teacher Education, Department of Creative Studies.
    Bankier söker sig till ursprunget: Channa Bankier, Galleri Brage 4-22 april1992In: Västerbottens-Kuriren, no 18/4, p. Kultur sid. 3-Article, book review (Other (popular science, discussion, etc.))
  • 14.
    Marner, Anders
    Umeå University, Faculty of Teacher Education, Department of Creative Studies.
    Konsten att vara där: Recension av Christer Strömholms bok Konsten att vara där1992In: Västerbottens-Kuriren, no 19/3, p. Kultur sid. 3-Article, book review (Other (popular science, discussion, etc.))
  • 15.
    Merrill, Samuel
    University College London.
    Keeping it real?: Subcultural graffiti, street art, heritage and authenticity2015In: International Journal of Heritage Studies (IJHS), ISSN 1352-7258, E-ISSN 1470-3610, Vol. 21, no 4, p. 369-389Article in journal (Refereed)
    Abstract [en]

    This article considers the implications of framing subcultural graffiti and street art as heritage. Attention is paid to subcultural graffiti's relationship to street art and the incompatibility of its traditions of illegality, illegibility, anti-commercialism and transience with the formalised structures of heritage frameworks. It is argued that the continued integration of street art and subcultural graffiti into formal heritage frameworks will undermine their authenticity and mean that traditional definitions of heritage, vandalism and the historic environment will all need to be revisited. The article contributes to the current re-theorisation of heritage's relationship with erasure by proposing that subcultural graffiti should be perceived as an example of 'alternative heritage' whose authenticity might only be assured by avoiding the application of official heritage frameworks and tolerating loss in the historic environment.

  • 16.
    Merrill, Samuel
    Department of Geography, UCL, UK.
    New York’s Subterranean Paradoxes: A Review of Subway2014In: Opticon1826, ISSN 2049-8128, no 16, article id 5Article, book review (Refereed)
    Abstract [en]

    This review considers the recent re-publication of Bruce Davidson’s Subway series of photographs, and their exhibition at C/O in Berlin, Germany. As such, this review positions Davidson’s photographs both in relation to wider cultural analyses that highlight the paradoxical nature of subterranean space, and within a selective genealogy of subway representations. Furthermore, it views the reinvigorated interest in Davidson’s work to be reflective of the growing popularity of subterranean space that has recently re-emphasised its cultural potential.

  • 17.
    Morén, Sol
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    N-appar2012In: Cultural encounters: Starting the Dialogue in Arctic Sustainable Arts / [ed] Timo Jokela, Elina Härkönen, Rovaniemi: University of Lapland , 2012, p. 9-9Chapter in book (Other academic)
    Abstract [en]

    "N-appar" is an artistic research- and development project at a Swedish University. The fieldwork started 2011 initiated by a visual artist and a musical composer, involving approximately 100 children of 5-6 years old and 100 students. The practice based result of the project, so far, includes an audio-visual "instrument" and a "computer game" created together with the children and students. The artistic results have been exhibited and evaluated by test groups at primary schools 2012. During the fall of 2012 an article will be written on the project, with focus on artistic pedagogy.

  • 18.
    Morén, Sol
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Nostalgica Utopica Futura2013In: Relate North: Engagement, Art and Representation 2013 / [ed] Elina Härkönen, Timo Jokela, Ásthildur Jónsdóttir, Rovaniemi: University of Lapland , 2013, p. 23-23Chapter in book (Other academic)
    Abstract [en]

    This collaborative sound-video art project ‘Nostalgica Utopica Futura’ (inspired by Italian minimalist musical composer Luigi Nono) has one of the narratives of inspiration in historical, utopic ideal society built up in 1895 on an island called Norrbyskär, located at the coast close to Umeå. The island was totally (re)constructed, probably inspired by contemporary ideas about utopic societies, like the Morris novel, where the workers were ‘taken care of ’ in all social aspects. The children in the video, Ivan Morén and Linnea Thors are ancestors of a family who lived at Norrbyskär during this period. Film production took place in the family house, called the Tailor House, where tales of the family were mixed with contemporary tales, to a gothic story of the drowned children (the script were written in collaboration with the children). The image style was influenced by the Nordic fine de siècle New Romanticism, with Swedish artist like Carl Larssons ‘A day of celebration’ and Axel Fridells ‘Mr Simmons’ or the ‘The dying dandy’ by Nils von Dardel. Sound was composed by J.M. Holmberg.

  • 19.
    Mäntymäki, Tiina
    et al.
    Vaasa University.
    Rodi-Risberg, Marinella
    Foka, Anna
    Introduction2015In: Deviant Women: Cultural, Linguistic and Literary Approaches to Narratives of Femininity / [ed] Mäntymaki, T., Rodi-Risberg, M., Foka, A., Oxford: Peter Lang Publishing Group, 2015, p. 9-25Chapter in book (Refereed)
    Abstract [en]

    The construct of the deviant woman is analysed from literary, sociolinguistic and historical-cultural perspectives, revealing insights about cultures and societies. Furthermore, the studies recognise and explain the significance of the concept of deviance in relation to gender that bespeaks a contemporary cultural concern about narratives of femininity.

  • 20.
    Norberg, Micael
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Jag Buddha och mig själv: noteringar2012Book (Other (popular science, discussion, etc.))
    Abstract [sv]

    “Jag hade önskan om att detta arbete skulle handla om lycka och att jag skulle kunna förstå lycka, framgång och vad de begreppen betyder. Jag utgick från perspektivet om min egen lycka (som om jag visste vad lycka var) men upptäckte snabbt att jag fick börja med att utgå från ingenting. Mina förutfattade meningar och dualistiska tankesätt fick mig att inse att jag måste börja om från början. Det blev ett antal ord satta i en följd med en förhoppning om att de skapar någon slags berättelse. Inte en berättelse om makt, strukturer, sex eller politik utan en betraktelse av olika tillstånd som tillsammans bildar en minnesbild. Det är noteringar kring händelser. Det handlar kanske mest om att gå.”

  • 21.
    Norberg, Micael
    et al.
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Ewadotter, Emma
    Umeå University, Faculty of Arts, Humlab.
    A permanent mark on a physical body2014Book (Other (popular science, discussion, etc.))
    Abstract [en]

    Boiling down a conversation that has been ongoing for years to a few pages of text is a complicated thing to do. Boiling down experiences gathered over the span of half a lifetime is even more so. In the beginning of this project, mingling two different people’s notions of existence into one body of text seemed to provide nothing but confusion and frustration. But there turned out to be some points of connection, bright lights that started to indicate a path. It was loosely defined, sometimes lost from sight, but nonetheless a common ground. What started to emerge was a shared notion of being. A being among beings. Being aware of the creeping sensation of becoming aware through a bodily experience. Being there-ness, a sensation brought upon the flesh through needles and patterns. It could have been anything, of course. The prick of the needle is just the beginning, the thin sliver of sunlight indicating that a door has been opened. Walking through that door is a different thing altogether…

  • 22.
    Ozmin, Janek
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    Original, Time for Living Culture: Social Sculpture, The Uninvisible Koja2015In: Original, ISSN 2312-7880, p. 36-36Article in journal (Other (popular science, discussion, etc.))
  • 23.
    Ozmin, Janek
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    The Uninvisible Koja2014Other (Other academic)
    Abstract [en]

    This installation was commissioned as part of a joint project between the city of Umeå, Sweden and the city of Komatsu, Japan. The words koda – koht – kodu – katus of Finno-Ugric origin have arrived in both Swedish and Japanese cultures in the form of the word Koja or 小屋. The word Koja refers to place, home, roof and house. In the modern Swedish context the term is quite broad extending to a variety of anonymously authored small structures or enclosures found in the wilderness. Koja is also used to describe constructions that a child might make out of a cardboard box: a first getaway in their home, the making of a private world of play. Koja also refers to small hunting, fishing huts or small structures in remote places. In respect to the idea of Heterotopia Peter Johnston wrote on Michel Foucault’s 1966-67 radio broadcasts where he described heterotopias as

    “Illustrations of the concept refer to various children’s imaginative games, mentioning tents and dens in gardens as well as all the games played on or under the covers of the parents’ bed. The children’s inventive play produces a different space that at the same time mirrors what is around them. The space reflects and contests simultaneously.”

    In 1972 Ugo La Pletra presented Counter Design as Postulation at MoMas Italy: the New Domestic Landscape: the Indivisible Koja comes together as a series of contradictions. Kojas by nature are subversive structures; they operate as both a place to escape to and a way of capturing a territory.

    The Koja is made from modified gold vinyl sheet that has been adhered to Mylo to form a two-sided reflective metallic material. The sheet is then cut with an expanding camouflage pattern that opens up when hung. Inside the Koja is an Aluminium Chaise Longue that can hold two people lying down. Once inside a sensor activates a mobile phone scrambler producing an invisible blanket that renders the inhabitant invisible from the unseen infrastructures of global satellite telecommunications.

  • 24.
    Ozmin, Janek
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    Vävda Tält2012Other (Other academic)
    Abstract [en]

    Vävda Tält

    The installation is designed as an internal spatial experience which is formed out of your viewing relationship with a layered timber structure.

    The structure is made of long thin timber pieces which are connected to make a single room. These pieces are woven together and form a space that has a variety of visual depths due to its constructed form.

    The structure is composed to capture light.

    The structure is covered in a translucent canvas material. The result is a covered layered room that works in both the daylight hours of the festival and the evening hours of the festival.

    During the day the front aperture of the installation can be opened and will capture the unique low level angle of the sun at approximately 12:30 as it alines to Rådhusesplanaden.

    During the evening three types of light are introduced each of which plays a different role in transforming your eye and as such the resultant space.

    Light is captured and introduced to reveal and transform space.

    The ground is made of damp bark which absorbs the light and softens your step within the changing room. 

    The project was extensivley surveyed with Photographs, interviews and videos depicting inhabitation of the room by participants.

  • 25.
    Ozmin, Janek
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    Vävda Tält: Design research conducted through making.2013In: Review Meeting and Seminar: The Project: Vävda Tält, Experiment in Optics and Lighting through Public Installation, Stockholm KTH, 2013Conference paper (Other academic)
    Abstract [en]

    Vävda Tält was a full-scale public installation commissioned as part of Umeå Light Festival 2012. The project was designed as an experiment in the aesthetics of light and the effect of light on the human subject. The presentation outlined the general theory of light in relation to the human eye and the embodied effect on its participants. The presentation was a mix of, drawings, video and theoretical text connecting the installation to a series of archetypes dealing with public installation and light.

  • 26.
    Ozmin, Janek
    et al.
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    Heger-Davis, Swetlana
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Domestic still life2015Other (Other academic)
    Abstract [en]

    Professor Swetlana Heger and Janek Ozmin were commissioned to investigate the themes of Migrating Places of Production and Space as Product in relation to the town of Hohenems, Austria. The project investigated the history of material production in the Hohenems region and produced three woven sculptures that represent the globalised condition of manufacturing; it's relation to place and the role interdisciplinary work required to make of a representative image of place. The work was hung within a working aluminium anodising plant set in the town of Hohenems from which the sculptures provided a platform for debate on Migrating Places of Production and Space as Product.

    Domestic Still Life

    1. Blue - Yellow  180x 360cm 

    2. Yellow - Red  180x 370cm 

    3. Red - Blue  180x 355cm

  • 27.
    Ozmin, Janek
    et al.
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    Hickey, Donal
    Atlantic City Genocide Memorial2011Other (Other (popular science, discussion, etc.))
    Abstract [en]

    The proposed memorial site sits on the axis between the suburban fabric of the city, predominately existing to the west of Albany Avenue and the tourist and commercial centre of the city to the east. Building on the formal composition of the city the proposition situates itself on a north south axis with the existing World War I Memorial located in O'Donnell Park. Albany Avenue opens into Route 40 formed from the Oregon Trail navigating from Atlantic City, west to San Francisco.Visitors are presented with both the World War I Memorial and the Holocaust Memorial.

    The Genocide Memorial appears as a black Chamber in the Atlantic Ocean extending the city's fabric into the sea, connecting all continents through the moving waters of the ocean. Amongst the sand and removed from the sea a room, described as the Orientation Chamber, sits marking access from the boardwalk to the beach. As a result the memorial site expands beyond a bounded territory encompassing the city's formal layout, its boardwalk and its inherent natural and man made landscape.

  • 28.
    Palm, Fredrik
    et al.
    Umeå University, Faculty of Arts, Humlab.
    Thély, Nicholas
    University of Rennes II .
    Transparency and visualization in Text mining: A case study of Connected Concept analysis with Textometrica2013Conference paper (Refereed)
    Abstract [en]

    In the digital age, large amounts of text date are increasingly available. Information visualization has become an important approach for handling these large datasets.  But a critical perspective is still required in the process of analyzing data, as well as in the communication of methods and results.

    The researcher must ensure that the approaches provide the quality, transparency and precision needed for the research questions to be answered. In this paper we will report about a case study of the research method Connected Concept Analysis (Lindgren 2011) and the design of the tool Textometrica  (Lindgren & Palm 2012).

  • 29.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Giveriet i den fria rörlighetens Europa2014In: Glänta, ISSN 1104-5205, no 1Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Gatans informella fördelningspolitik synliggör den europeiska välfärdens systemfel. Samtidigt bidrar den till människors akuta överlevnad. Genom att genomföra en marknadsundersökning, fotografera, läsa rapporter och ställa frågor till folk på gatorna undersöker Cecilia Parsberg giveriets och tiggeriets europeiska koreografier.

  • 30.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Giving in free movement Europe2014In: Eurozine, ISSN 1684-4637, article id 2014-08-06Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    The informal politics of distribution on the streets, of begging and of giving, makes visible the faults inherent in European welfare systems, writes Cecilia Parsberg. And the rules and statutes that aim to prevent poverty-stricken EU citizens from enjoying free movement add insult to injury.

  • 31.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Hur blir du en framgångsrik tiggare i Sverige?: en undersökning av tiggandets och givandets bilder 2011 till 20162016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    My first encounter with a begging person led me to spend five years investigating the new situation regarding begging and giving in Sweden. The premise is that every-day actions and reactions to another person can be made visible through aesthetics with ethical underpinnings. My investigation takes place mainly in the urban landscape and in the media. The images always constitute the point of departure for the reasoning and for the staged works. Images that separate as well as connect bodies. Which images are at play in the social choreography of begging and giving? In this context, how can images be activated in new ways? How can new images be generated? Begging is a call to social interaction, and regardless of whether the giver interacts socially with the begging person on the street, the giver is implicated in the asymmetrical value systems of the European Union. In my first staged work I hire a professional market researcher to find out how a beggar in Sweden should behave to be successful. This becomes a film that I then show opposite another film in which begging people talk about how givers give. This is followed by a number of staged works and an interdisciplinary theoretical discussion involving, among others, Judith Butler, Sara Ahmed, and Hannah Arendt, as well as a number of artistic works concerning how images – and bodily actions – are linked to the social image and the body politics. The arrangement of the choirs in the staged work The Chorus of Begging and The Chorus of Giving, indicates a space for social interaction and thus demonstrates a different order that demands different actions in terms of language, movement, and attitude toward each other. It’s a social choreography: when the choirs rehearsed and sung together a political form emerged. My hope is to make visible a space for action between the begging and the giving that can be used for continued ethical negotiations and new staged works. 

  • 32.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Konsten kan skapa ett nytt handlingsutrymme2014In: Sydsvenskan, ISSN 1652-814XArticle in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Konstnären Cecilia Parsberg menar att konsten kan skapa ett handlingsutrymme mellan den som ber om pengar på gatan och den som ger. 

  • 33.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Om handlingsutrymme mellan givande och tiggande2015In: Socialmedicinsk Tidskrift, ISSN 0037-833X, Vol. 92, no 3, p. 335-342Article in journal (Refereed)
    Abstract [sv]

    Ett drama pågår på gatorna mellan de som tigger och de som ger eller inte ger. Hindren tycks vara både känslomässiga och språkliga. Det finns dessutom kulturella koder i spel. De bilder vi har av varandra behöver förhandlas, särskilt de som fördomar och okunskap genererar, eftersom de idag skapar ett våld mot människor. Det gör Givandets kör och Tiggandets kör. Här deltar människor som tigger på gatorna och givare. Det är en filminstallation för två filmdukar, där betraktaren står emellan.

             Processen att skapa ett körverk tillsammans dessa tre dagar filmades också och blev en produktionsfilm med en tillhörande text där bland annat etik, estetik och arbetsförhållanden beskrivs. Verket har visats på en rad offentliga platser och på seminarier. Det är en gestaltning av hur det är möjligt att skapa utrymme för handling. Det visar både metod och resultat.

             Det finns ett handlingsutrymme mellan oss. Konst är ett sätt att utnyttja detta utrymme för att uttrycka det sinnliga, det där också det politiska grundas: i affekter och reaktioner hos människor. Om konsten handlar om att synliggöra detta handlingsutrymme så handlar det politiska om hur det är möjligt att se vilka bilder som är relevanta i detta utrymme, och att aktivera det. 

  • 34.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Sverige-Rumänien t/r2015In: Feministiskt perspektiv, ISSN 2002-1542, article id 2015-11-13Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Filmarna Tova Kurkiala Medbo och Caroline Kernen har under ett år följt tre kvinnor som reser mellan Stockholm och Rumänien för att tjäna pengar till sina familjer. De har fått många svar på sina frågor, men vilka var frågorna? Det undrar Feministiskt perspektivs recensent Cecilia Parsberg. Hon har sett dokumentären I jakt på ett bättre liv som har premiär ikväll på Stockholms filmfestival.

  • 35.
    Rådström, Anna
    et al.
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Andersson, Cecilia
    Mellan ja och nej/Between Yes and No: Leonor Finis konst 1930-1960/Leonor Fini's Work 1930-19602014In: Leonor Fini: pourquoi pas? / [ed] Brita Täljedal, Cecilia Andersson, Anna Rådström, Jonas Ellerström, Umeå: Bildmuseet , 2014, p. 24-41Chapter in book (Other (popular science, discussion, etc.))
  • 36.
    Skåreus, Eva
    et al.
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education). Umeå University, Faculty of Social Sciences, Umeå Centre for Gender Studies (UCGS).
    Egberg Thyme, Karin
    Kropp. kamp. bild: Jo Spence1998In: Astra nova, ISSN 1238-1837, Vol. 80, no 4, p. 6-11Article in journal (Other (popular science, discussion, etc.))
  • 37.
    Täljedal, Brita
    et al.
    Bildmuseet vid Umeå universitet.
    Andersson, Cecilia
    Bildmuseet vid Umeå universitet.
    Anna, Rådström
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Inledning/Introduction2014In: Leonor Fini: pourquoi pas? / [ed] Brita Täljedal, Cecilia Andersson, Anna Rådström, Jonas Ellerström, Umeå: Bildmuseet , 2014, p. 10-23Chapter in book (Other (popular science, discussion, etc.))
  • 38.
    Täljedal, Brita
    et al.
    Umeå University.
    Andersson, CeciliaUmeå University. Bildmuseet vid Umeå universitet.Rådström, AnnaUmeå University, Faculty of Arts, Department of culture and media studies.Ellerström, Jonas
    Leonor Fini: pourquoi pas?2014Collection (editor) (Other (popular science, discussion, etc.))
  • 39.
    Ulfsdotter, Helena
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Street art: Konst eller kriminalitet i bild- och slöjdundervisning2013Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Syftet med arbetet är att belysa möjligheter och metoder för ett ämnesövergripande arbetssätt mellan bild och slöjd genom nutida konst-och hantverksfenomen såsom gatukonst och graffitiarterna, samt att undersöka pedagogernas uppfattningar om de sätt genom vilka de arbetar med dessa konst- och hantverksfenomen i undervisning och i sina kurser. Utgångspunkten är att studien ska besvara hur lärarna arbetar ämnesintegrerat mellan Bild och Slöjd och hur pedagogerna förhåller sig till gatukonst och graffitiarterna i sin undervisning och i sin verksamhet. Frågan om hur dessa konstformer kan motiveras som undervisningsinnehåll ska också få svar. Kvalitativa intervjuer har gjorts med informanter med skilda erfarenheter av området, men de är alla lärare, lärarutbildare eller workshopsledare. Resultatet är belyst ur ett sociokulturellt perspektiv och med Foucaults teorier om makt och diskurs. Skillnader och likheter i pedagogers förhållningssätt har synliggjorts och vilken plats gatukonst kan ha i ett skolsammanhang. Synen på Bild och textilslöjd, som i samhället kan motsvaras av konst och hantverk, står inför en förändring och får en ny plats i en samtida kulturkontext.

  • 40. van de Kamp, Marie-Thérèse
    et al.
    Admiraal, Wilfried
    Rijlaarsdam, Gert
    Umeå University, Faculty of Arts, Department of language studies. Research Institute of Child Development and Education, University of Amsterdam, Nieuwe Achtergracht 127, 1018 WS Amsterdam, The Netherlands; University of Antwerp, Antwerp, Belgium.
    Becoming original: effects of strategy instruction2016In: Instructional science, ISSN 0020-4277, E-ISSN 1573-1952, Vol. 44, no 6, p. 543-566Article in journal (Refereed)
    Abstract [en]

    Visual arts education focuses on creating original visual art products. A means to improve originality is enhancement of divergent thinking, indicated by fluency, flexibility and originality of ideas. In regular arts lessons, divergent thinking is mostly promoted through brainstorming. In a previous study, we found positive effects of an explicit instruction of metacognition on fluency and flexibility in terms of the generation of ideas, but not on the originality of ideas. Therefore, we redesigned the instruction with a focus on building up knowledge about creative generation strategies by adding more complex types of association, and adding generation through combination and abstraction. In the present study, we examined the effects of this intervention by comparing it with regular brainstorming instruction. In a pretest-posttest control group design, secondary school students in the comparison condition received the brainstorm lesson and students in the experimental condition received the newly developed instruction lesson. To validate the effects, we replicated this study with a second cohort. The results showed that in both cohorts the strategy instruction of 50 min had positive effects on students' fluency, flexibility and originality. This study implies that instructional support in building up knowledge about creative generation strategies may improve students' creative processes in visual arts education.

  • 41.
    Örtegren, Hans
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    The scope of digital image media in art education2012In: Computers and education, ISSN 0360-1315, E-ISSN 1873-782X, Vol. 59, no 2, p. 793-805Article in journal (Refereed)
    Abstract [en]

    In this case study of forms 7-9 in a Swedish school, the subject conceptions of and teaching practices in art subjects of schoolteachers and pupils are studied, in particular with regard to digital media. Flow the core content of a subject is conceived is compared to the importance of digital media in the teaching practice. For three years a class was followed whose teachers taught the pupils in both the art subject and in a local optional subject called Media. The method of triangulation involving participant observations, focus talks, interviews and questionnaires was employed in order to study the role of digital media in different subjects and their actual use by pupils. The results show that the school subject paradigm in the subject of art is chiefly connected to image production for developing aesthetic-practical skills. Traditional manual production is encouraged, thereby contributing to the limited use of digital media in the subject of art. Frame factors such as time and material also contribute to the limited use of digital media in the subject of art. Unlike the subject of art, the optional subject of media is conceived of more as a communication subject, and digital technology for image production is encouraged. In general, the use of digital media in the school is mainly guaranteed by the school's media plan. The role of the art subject is not prominent in this plan, but its teachers are active in implementing digital media in other contexts than within the framework of the art subject. In this study the representatives of the subject of art hardly used digital image processing at all in their teaching, but did so to a great extent in the optional subject of media. This made it clear that digital media in the subject of art in this school are not regarded as a prioritised media-specific competence. Offering and being able to provide a larger repertoire of digital media in the teaching of art could contribute to a change of the subject paradigm in a more clearly communicative than aesthetic-practical direction. (C) 2012 Elsevier Ltd. All rights reserved.

  • 42.
    Morén, Sol (Artist)
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Morén, Ivan (Artist)
    Lind, Anders (Musician)
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    N-appar2012Artistic output (Refereed)
    Abstract [en]

    "N-appar" is an artistic research- and development project at a Swedish University. The fieldwork started 2011 initiated by a visual artist and a musical composer, involving approximately 100 children of 5-6 years old and 100 students. The practice based result of the project, so far, includes an audio-visual "instrument" and a "computer game" created together with the children and students. The artistic results have been exhibited and evaluated by test groups at primary schools 2012. During the fall of 2012 an article will be written on the project, with focus on artistic pedagogy.

  • 43.
    Morén, Sol (Artist)
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Holmberg, Jonas M. (Composer)
    Nostalgica Utopica Futura2013Artistic output (Refereed)
    Abstract [en]

    This collaborative sound-video art project ‘Nostalgica Utopica Futura’ (inspired by Italian minimalist musical composer Luigi Nono) has one of the narratives of inspiration in historical, utopic ideal society built up in 1895 on an island called Norrbyskär, located at the coast close to Umeå. The island was totally (re)constructed, probably inspired by contemporary ideas about utopic societies, like the Morris novel, where the workers were ‘taken care of ’ in all social aspects. The children in the video, Ivan Morén and Linnea Thors are ancestors of a family who lived at Norrbyskär during this period. Film production took place in the family house, called the Tailor House, where tales of the family were mixed with contemporary tales, to a gothic story of the drowned children (the script were written in collaboration with the children). The image style was influenced by the Nordic fine de siècle New Romanticism, with Swedish artist like Carl Larssons ‘A day of celebration’ and Axel Fridells ‘Mr Simmons’ or the ‘The dying dandy’ by Nils von Dardel. Sound was composed by J.M. Holmberg.

  • 44.
    Morén, Sol (Artist)
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Persson, Hanna (Contributor)
    The invisible girl2012Artistic output (Refereed)
    Abstract [en]

    Entering a new world, in order not to fade away or become invisible, you must have the courage to start making at least a small part of the new world yours. When the little girl who is the the main character in the fairytale anime Spirited Away, becomes transluctant, she eats some berries from the alien world, to slowly become visible again. When I found out that the research project Invisible Girl was open for visual arts, I immediately visualized the image of the invisible girl. In my artistic practice the embodied vision often appears first, of course not in a void, but solitary, and the background, the artistic sources of inspiration or references has to be traced back subsequently. One comprehension of the artistic vision is that it arises from a specific approach to creativity, in which the unconscious is allowed to penetrate to the surface. During the artistic process, I think in images, words represent themselves as pictures, or associations to other words that become other images. In my artistic vision I saw the picture of a girl whose hands and feet had already started to fade away, as she was slowly becoming more and more translucent. In the beginning of the tale, a symbolic dark tunnel leads the family into an unfamiliar world, or to use Freud's term uncanny, populated by spirits. To understand the changes taking place in her life the little girl examines and develops the various possible charaters or selves that reveals themselves to her in the fairytale. According traditional psychoanalysis, fairytales could serve as metaphors that may help children to relate to different problems or transitional phases of life. The artwork Invisible Girl symbolizes the transition between worlds, old and new selves, or one could say, a rite de passage.

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